odradek

I mean the one in front? And I mean, how is it written? I'm not joking, be kind, I don't know these things... -How nice that ih ih :))

Damn, the quotation marks around "blind alley" (referring to attitudes and sounds) were placed there to avoid a literal interpretation (uselessly, it seems). The hypothesis regarding the attitude is just that—a hypothesis; I didn't say it's so or it must be so. I experienced firsthand, already a dozen years ago, the close relationship between her sounds, her songs, and her figure, her presence. And I imagine that a natural evolution (or devolution) of the person, also tied to the years (those eternally young are such a pain), corresponds to a transformation of the musical production. Not necessarily radical, but often unwelcome to fans. The “little joke” that closed my post (and that you perhaps unintentionally skipped) was precisely about this... This might be the dividing line: I have never considered the young lady a "genius," and aside from acknowledging her very strong personality and a few notable albums, I don’t have the kind of involvement towards her that you show. That said, the new album hovers around a 3.5-4 for me, also because it is too linear in its unfolding; it seems to show a sort of caution from a novice in territories that are recently tread upon, and so I wait to see what happens in the future. If they need to be guitars and clamor, so be it. That is certainly not the point. The point is always "how." Cheers and kisses.

Dear Horizons, let's try to understand each other: you expressed notes regarding grammar and, apart from the basic rule of E after the period (which I told you about, I believe), you haven't hit the mark much, as can be inferred from some comments. But who cares, I would add. You expressed doubts about the substance of the little page, and that's fine, because indeed "I don't make it clear what kind of music they play," although it seems that someone got it. But I invited you to listen to the album (if you use the link you can do it) and perhaps that was the purpose of my brief lines (didn’t it cross your horizons?). Then, if the chatter about the Battles has piqued your curiosity, here’s another possible use of the little page: I hear about a band I don’t know, I look for reviews in DeBaser that talk about them and discover who they are. Now, since the narrowness of horizons seems to have come to you as an unwarranted offense, it’s good to clarify that this attitude is what it refers to: insisting on one’s own position, limited and limiting (you opt for the idea that I think I’ve explained myself poorly, but I never said that: I simply responded that I didn’t mind you not understanding. There’s a certain difference, don’t you think?) Because if others, almost all of them, seem to have understood, it’s possible to consider the hypothesis that it’s you who doesn’t understand. Or not? And then the tone of a sacrificial victim, surrounded by friends of friends, immolated on the altar of a supposed character in front of the ire of the majority, once it adopts the tones of the pathetic soon translates into those of the ridiculous: it’s just conversation in an open space for comments, and one must anticipate attitudes that are not always conciliatory, as well as critiques of one’s thought, concerning both form and content. The idea that there is a coalition defending the odradek is absurd and makes no sense. First of all, because the odradek can take care of itself if it wants to, and secondly, because it simply doesn’t work that way. That said, I reaffirm the young lad, whom I imagine is of an age that permits me to. If that were not the case, I would withdraw the young lad in favor of a more suitable gentleman. And I invite you to accept any apologies (if you deem them necessary after this jumble of posts) and continue on your path, DeViandante among the DeViandanti, in a land that does not host wars, but small DeSchermaglie, and where there is no army or band of ruffians, or surrounded victim. And damn it!

Excuse me for butting in, gentlemen. It seems to me like a load of nonsense: on the horizon (which seems quite narrow), I have already expressed my opinion regarding supposed inviolable rules. It appeared, even in the previous post, that there was a lack of understanding. It doesn’t really concern me. To Minchiadura, who jumped in not to "defend" me, an old fossil, but rather drawn by the jumble of disjointed notes that Horizon stirred up, like a bee to the honey of others' mistakes, I reiterate that I am not very familiar with grammar, and if you could compile a small list of my most frequent errors, I would be grateful (this is not sarcasm, I mean it seriously). As for Tobby, I invite you to vaguely not give a damn about the identity of this or that. Maybe if you listen to the album, come back and tell me what you think? Cheers and kisses.

Well, mien_mo_man, pontificating from quick general comments of other users, without even having listened to the album and expressing such definitive "sentences" on what the lady in question should or shouldn't do seems quite funny to me. And with that peremptory tone, too... it's still curious to encounter so much certainty regarding how musicians "should" conduct themselves. Curious and, indeed, funny.

Megafuzzu: I just tried again and it found it right away...

Great album and I agree: I would leave, as almost always, the hyperboles at rest, just like the "masterpieces" and "history" (even though the temptation often prevails in a lot of magazines and blogs and similar stuff). I also really liked "River Through Howling Sky." And Ohmmmmmmmmmmm

Do as you wish ;)

For Hal: "I have my neck on the guillotine. The blade is falling. My head rolls over there, my body falls over here. Which way do I go?" Laing (citation from memory, probably approximate)

I listened to it a bit after I bought it when it came out. Then I never felt like listening to it again. Sure, it's a sort of showcase of sounds and production in that realm, but as the reviewer also says, it's marked by those years, especially in the sounds. Since we're talking about him, let yourself be tempted by his past: it's in orchestration that the man has the golden touch. So listen to a record that exemplifies this quality in the jazz realm, one I've loved since the first listen and that shines with refinement and colors: "This Is How I Feel About Jazz" (1956). And then, even if you haven't seen the film (too bad for you), listen to the soundtrack of "L'uomo del banco dei pegni" (The Pawnbroker - 1964) - I think there’s more modernity in those records than in this one. I’ll finish with a nod to his story with Kinski at the beginning of the '90s, who was 26 years younger than him. I like Quincy.